Johnny Balbuziente's Troll

How Brecht achieves producing this state of consciousness is more subtle and elegant than the previous technique of having actors walk out with blatant placards to remind the audience that they are watching a play. One of the marks of Brecht’s epic theater is his alienation effect, or “a representation which allows [the audience] to recognize its subject, but at the same time makes it seem unfamiliar” (Brecht 1948, 8).

The World’s Columbian Exposition, more commonly known today as the Chicago World’s Fair, brought forth numerous innovations people use commonly today: Juicy Fruit chewing gum, Shredded Wheat, the Pledge of Allegiance, the Ferris Wheel, books printed in Braille, automatic dishwashers, even Aunt Jemima pancake mix. In The Devil in the White City: Murder, Magic, and Madness at the Fair That Changed America, Erik Larson presents these brilliant inventions with a flourish that makes the reader feel as though he is there, experiencing the magic in person. However, despite the spellbinding descriptions and otherworldly air, the author explores a more macabre side to the story. The reader can never get too comfortable in the mystique of the Fair because lying at the end of each chapter about beauty, Larson reconstructs the White City in a different light. In the novel, Erik Larson uses diction and pathos to disquiet the reader while telling the chilling story of H.H. Holmes, what he did, and how he got away with it for so long.

Doerries diminishes the theater and its patrons by stating “people attend the theater…to feel more intelligent than they actually are” (Freedlander). Doerries appears to be drawing on the audience’s lack of knowledge as a basis to form and direct a conversation using an abstract to accomplish his goal. This is demeaning to a culture that has an understanding of the issues. This article is inflammatory and insults the intellect of the

The director wanted to convey the strong and relevant message of the play to the audience, therefore naturalism became essential. As a verbatim piece, the director aimed to avoid overacting and stay true to the characters original intention. Therefore, when adding characterisation, I was careful about being too extravagant with my blocking, body language and facial expressions. For example, Romaine Patterson delivers a powerful monologue, supporting LGBT rights 'I decided that someone needed to stand toe to toe with this guy and show the differences.' The director and I discussed only adding minor movement for Romaine, to avoid overacting. I worked with the director on the timing of my movement. In the last section of my monologue, I was required to wear angel wings and raise them when saying 'And we're calling it Angel Action.' Therefore, we rehearsed the timing, to achieve a natural and polished movement. The director required actors to transform into new characters onstage. The costumes were positioned on stage behind the actors, so transitions were efficient. This Brechtian technique required actors to apply small changes to their costumes to help represent new characters. These fast-paced transitions exhibited my ability to portray several

Theatre is a collaboration of various forms of fine art which utilizes live performances presenting before the audience on a stage at a specific place within a scheduled time (Dugdale 10). The message is communicated through a combination of various channels like songs, speech gestures or dances. Stagecraft skills are combined with elements of art to make the performance more physical and near to real life experience. Theatre is categorized broadly into drama, musical theatre, comedy, tragedy and improvisation. Any form of these accepts integration of various production modes and collective reception to influence the artwork being presented. As a result of this cooperation of items in the theatre

Throughout the play two actors role played multiple characters. Each actor morphed into another character. They had impressive versatility of their characters and played each role with emotion. The facial expressions they exercised appeared to contribute to the

As regards the delineation of the characters on stage and outside, the spectator is invited to pay attention to what is said and what is left unsaid, to what is revealed consciously or what is betrayed by the delivery of each of them, their gestures whether coordinately or impulsively performed.

This device changes the atmosphere in the audience. The audience realise that the play starts off with a jolly introduction, talking about a normal upper-class family who were just celebrating their daughter’s engagement, to a serious place. The audience’s body language changes from attracting to the play to retracting from the play.

Leigh’s statement that ‘The edge of the stage is not an invisible boundary over which the actor must never step but a garden wall across which the actor gossips and flirts with the public as if they were neighbours’ seems to have captured the very essence of audience acknowledgement that is so present in the play Pseudolus. Neither cast nor script of this comedy by Plautus seems particularly bothered by any notion of the fourth wall, and the play is rife with both blatant and subtle character acknowledgement of the audience. Indeed the notion that the fourth wall is some sort of impenetrable barrier between performer and audience seems absurd when one examines the aims of theatre and performance as a whole, and Pseudolus circumvents and breaches this supposed barrier with a variety of means

Brecht’s political theatre stems from his political views towards communism and the upper class society. Theatre that comments on political issues within society. Brecht began to have a dislike for the capitalist society he was brought up in and wanted more of an equal approach to the world and the people around him. With epic theatre, Brecht wanted it to be both didactic (able to teach others) and dialectic (able to create discussions and ideas). The audience at no time during an epic play can be seen to be in a trance or take what they see on stage for granted. Our performance is reflective of Brecht and his Epic and Political theatre as we address many political topics such as Marxism and the divides between classes and the corruption of the government. We have props such as protest signs and banners to communicate Brecht’s political theatre to the audience. In the first episode, Brown’s Boys, there is a scene where MPs choke and die after ignoring the recession and protesters emerge into the audience chanting that ‘politics is dead’ and ‘they don’t really care about us’ while holding banners saying, ‘politics is dead’ and ‘Gordon Clown’. This was done as it represented politics and the fact the seriousness of the situation was ignored; showing how quickly the issues with the recession spiralled out of control and became something that even the higher up in society were unable

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

Is your phone use affecting your GPA? Many teachers and students ask themselves this question when in school and/or studying. Many parents think that cellphone use affects their children's ability to learn at school and how their students study with the distraction of cellphones. Cell phones are a distraction and for students who have a hard time paying attention a cell phone use just adds one more element into the mix of a classroom setting. Cell phones should be banned in schools to increase productivity levels in students and also to close gaps in learning and also get higher grades. Multi tasking does not work in a classroom setting and it is actually harder than just paying attention and listening in class compared to looking back and

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

I’ve adored theatre for as long as I can remember. From writing plays throughout elementary school, to being involved in Drama Club in middle school, to performing in community theatre in high school, and to visiting the theatre as often as I could from the very beginning, theatre has always been a part of my life. Every aspect of it engages me: the directors working to bring their vision of the show’s scenes, choreography, or music to life, the actors transforming into different characters through their expression of dialogue, song, or dance, the costumers and set-builders transporting the audience into the setting and time period with their artistry, the backstage tech and crew working quickly and precisely to keep the show flowing to curtain call, and the orchestra bringing the show to life through music. There is nothing like the experience of live theatre, both as a member of the audience and as a member of the cast and crew.

Taking a look at the attachment theory right off the back you can see that with Chick not having his mother around it was difficult for him to attach to a caregiver. Growing up, as a child in a neglectful household would cause numerous difficulties throughout life. Not being able to form attachment with the primary caregiver (usually the mother) would hinder social and emotional development, confidence, the ability to make and maintain healthy relationships ("How can growing up without a mother affect a child?," 2017). The list is endless, children who grow up in neglectful and abusive, households learn to see the world in a 'unsafe' way and often suffer trauma as a result. I believe that due to what happened to chuck it had the opposite affect with his strength “Positivity”, because People especially talented in the Positivity theme have an enthusiasm that is contagious, basically they are upbeat and can get others excited about what they are going to do ("clifton strengthfinder," n.d.). This is true Chuck believed that he was capable of great things regardless of what he had to go through without a mother, being bullied, and all the above. He chose to look at his situation as positive as he could which carried on throughout his life.